Tesi sul tema "Contemporary Polish culture"
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Falicov, Tamara Leah. "The contemporary Argentine film industry, 1983-1998 : state cultural policy within a global market /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956448.
Testo completoBernard, Yves-Michel. "Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes". Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30042.
Testo completoThis thesis studies in depth, the origin and the creation of theRegional Contemporary Art Collection (FRAC) between 1981 and 1986. The plan is divided into three main parts. The first part analyses the patterns of acquisitions and eexhibitions, which were models for the formation of the FRAC during the twentieth century in France. The second part examines the commitment of the Ministry of Culture in an ambitious policy that led to the creation of the FRAC after the arrival of the labour party who came to power in 1981. The third part, strictly concerning the history of art, focuses on the collections of the FRAC. This study of the collections has been the core of the research, established from computer data created by Videomuseum, who made a census of all acquisitions. The thesis is also based on archival documents, existing works, an onsite study of each collection of the FRAC, interviews and a literature of artistic media. Included in the labour party’s political program for the presidential elections of May 1981, the FRAC, funded equally by the State and the Regions, is a strong example of the success of a decentralized cultural policy. Between 1983 and March 1986 twenty-one FRAC in activity acquired a total of 5,438 works of art from 1,377 artists.Since the 1960s, the FRAC is an exception in French cultural funding and the result of a desire for democratisation. Until 1986, the continued growth of acquisition loans - offered by the State and regional councils - could lead to the establishment of a formal aesthetic. “Zones of influence" emerged to compensate for absences in the museum collections in the region. However, despite this undeniable institutional investment, public power was not entitled to become a major player in the history of art
Shvanyukova, Polina [Verfasser]. "Exploring Italianness from the margins: linguistic, generic and cultural hybridisation in contemporary fictions of immigration / Polina Shvanyukova". Gießen : Universitätsbibliothek, 2017. http://d-nb.info/1132058309/34.
Testo completoSchaab, Katharine. "Threatening Immigrants: Cultural Depictions of Undocumented Mexican Immigrants in Contemporary US America". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1433459712.
Testo completoBastoen, Julien. "L’Art contre l’État ? : la trajectoire architecturale du Musée du Luxembourg dans la construction de l’illégitimité de l’action artistique publique, 1848-1920". Thesis, Paris Est, 2015. http://www.theses.fr/2015PEST1075/document.
Testo completoThis dissertation in architectural history argues that the architectural trajectory of the Luxembourg Museum in Paris was one of the main reasons why the French public art policy was considered as unwarranted and illegitimate. The Luxembourg Museum, whose collections are now scattered in various Parisian and provincial institutions, became in 1818 the world's first museum of contemporary art, by the will of King Louis XVIII. From the beginning, its aim was to feed the Louvre with recent and national art. The symbiotic relationship between these two museums, which was based on the principle of communicating vessels, was a paradigm for new museums in Europe and North America, until the first third of the twentieth century. Although the main mission of the Luxembourg Museum was to assert the superiority of French art face to that of other European nations, it was long criticized not only because it did not reflect the diversity of artistic trends, but also because the conditions under which its collections were stored and exhibited were unworthy of Paris' attractiveness and influence. Through the analysis of primary sources, press reviews and parliamentary papers, we wanted to test the hypothesis that the mobilization of different categories of stakeholders within and outside the artistic field led to an increasing distrust of public art policy. Leading artists represented in the museum, influential journalists from daily and art newspapers, art and patrons societies, citizens and merchant associations, promoted mobilization against through speeches, petitions, surveys or media campaigns. Even the museum professionals themselves were powerless against complicated bureaucratic procedures, shoestring budgets for national museums, and unsuitable storage and exhibition spaces, and ended up questioning the role of the French state in art policy. The negative image of the role of the French state was shaped at key moments and recurring events: the re-hanging of the collection, the display of a new gift or bequest, discussions about the annual budget of the ministry of Fine-Arts, World Fairs, preventive conservation matters, and rumors. However, the most critical moments coincided with the questioning of the very existence of the museum, with the threat of its uprooting, or the formalization and implementation of resettlement, extension or reconstruction schemes. Each of these events crystallized themes and issues that polarized most of the criticisms aired at the public art policy. We identified four major topics in this debate: the shameful absence of a purpose-built museum of contemporary art in Paris; the Governement's inability to raise funds to finally resolve the architectural issue; the lack of consensus on the future museum's location issue; the contradiction between the recognition of the curators' skills in architectural design and the inability of their administration to give them the opportunity to apply them. The main paradox is that although the public art policy was more and more considered as inaccurate and illegitimate, most of the artistic field helped the Government to resolve the ‘Luxembourg issue' and build a monument worthy of the nation
Byrne, Tatjana. "Critical discourses of cultural policy and artistic practice : a comparative study of the contemporary dance fields in the UK and Germany". Thesis, Birkbeck (University of London), 2014. http://bbktheses.da.ulcc.ac.uk/57/.
Testo completoSimon, Lydia Noelle. ""Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.
Testo completoLübbe, Dorothea. "Europera : innovation artistique et politique culturelle de théâtre musical contemporain en Allemagne et en France". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0315.
Testo completoThis research project is concentrated to focus the general conditions of cultural policy which are responsible for the creation of new artistic forms of contemporary music theatre in Germany and France. For this the research is focussed on innovations and not on the analysis of the crisis. The aim is to find solution and discus different reforms in the artistic practices. The field work include the analysis of 7 case studies, traditional institutions and structures of the free landscape of contemporary music theatre in Germany and France. It will be shown in the analysis that there is a link between cultural policy and innovation of arts
Figini-Véron, Véronique. "L'Etat et le patrimoine photographique : des collectes aléatoires aux politiques spécifiques, les enrichissements des collections publiques et leur rôle dans la valorisation du statut de la photographie : France, seconde moitié du XXe siècle". Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010733.
Testo completoPhotography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts
Cerqueira, Joana dos Santos Egypto de. "Forças em luta para invenção de uma dança: política cultural e dança contemporânea em São Paulo". Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/3622.
Testo completoConselho Nacional de Desenvolvimento Científico e Tecnológico
This work presents three different movements characterized by disjunctive series interweaved around the genealogy of forces in struggle, composing the invention of a dance. It is especially inspired in the writings of Friedrich Nietzsche, Michel Foucault, Gilles Deleuze and Félix Guattari. Traces of what is considered as contemporary dance‟ are situated through the discussions around dance‟s execution by history and becomings that are installed on it. Therefore, the emergence of the Programa Municipal de Fomento à Dança (Municipal Dance Foster Programme) for the city of São Paulo is investigated, from ways of conducts taken out by performance artists during the passage of the 20th to the 21st century. The Vocational Programme (Programa Vocacional) is analised as one of the most important complementary political program related to the activity of artists from different fields. In this way, the research concentrates on the historical analysis of the cultural policies investments in Brazil that reflects in adjustments over the production of the so-called intangible materials‟ and controls related to the recent field of the creative economy . The government of conducts affects the life of artists and dancers in São Paulo, while the sophistication of power technologies develop calculations and create forms of selectivity around the current artistic creations in contemporary dance by means of governmental notices and tenders. Different ideas of culture‟ are presented based especially on nietzschean lectures about cultivation of social and ethical practices. A path of the development of cultures of the self through the experimentation of dances produced in São Paulo between the final decades of the 20th century and the beginning of the 21st raising mixes with a distant archipelago: Japan. That meeting is considered as one of the possible links that calls our attention for the political condition of the contemporary dance in São Paulo
Este trabalho apresenta três movimentos caracterizados por séries disjuntivas que se entrelaçam em torno da genealogia das forças em luta componentes da invenção de uma dança, a partir principalmente das leituras de Friedrich Nietzsche, Michel Foucault, Gilles Deleuze e Félix Guattari. Situa-se vestígios daquilo que veio a ser considerado como dança contemporânea em meio à discussão entre efetuações da dança pela história e devires que nela se instalam. Discute-se, por conseguinte, como se deu a emergência do Programa Municipal de Fomento à Dança para a cidade de São Paulo, a partir de modos de condutas efetuados por artistas da cena, durante a virada do século XXI. Analisa-se, contudo, um dos atuais programas políticos municipais complementares à condição do campo de trabalho que envolve a vida de artistas de diferentes campos: o Programa Vocacional. Nesse sentido, a pesquisa debruçou-se na análise histórica dos investimentos em políticas culturais, no Brasil, que desaguam em adequações sobre a produção dos considerados materiais intangíveis e controles relacionados ao recente campo da economia criativa . O governo das condutas atravessa a vida de artistas e dançarinos, na cidade, em meio também à sofisticação de tecnologias de poder que condicionam cálculos e atestam seletividades sobre as atuais elaborações voltadas às artes e à dança contemporânea, por meio do funcionamento dos editais. Noções de cultura são apresentadas principalmente a partir de leituras nietzschianas enquanto cultivo de práticas sociais e de si. Delineia-se, entre as décadas finais do século XX e a entrada do XXI, um percurso da elaboração de culturas de si pela experimentação de danças experimentadas e produzidas em São Paulo, que suscitam misturas e contágios com um longínquo arquipélago: o Japão. Esse encontro apresenta-se como um dos possíveis fios que chamam a atenção para uma escuta relacionada à condição política presente sobre a dança contemporânea, na cidade de São Paulo
Rollman, Louise. "Curating the city: Unpacking contemporary art production and spatial politics in Brisbane". Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/123515/1/Louise%20Rollman%20Thesis.pdf.
Testo completoJung, Chang Sung. "Agencification and quangocratisation of cultural organisations in the U.K. and South Korea : theory and policy". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15930.
Testo completoSouza, Tálisson Melo de. "18ª e 19ª bienais de São Paulo: curadoria entre a prática e o debate no Brasil". Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/84.
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A partir do contexto de emergência e consolidação da atividade do curador de exposições de arte contemporânea na esfera artística internacional, esta análise direciona-se a duas edições da Bienal de São Paulo (as 18ª e 19ª, promovidas em 1985 e 1987, respectivamente) para compreender as condições e desdobramentos dessa profissão no Brasil. As curadorias da crítica de arte Sheila Leirner são estudadas aqui em sua singularidade e em relação com diversas exposições realizadas em instituições congêneres. Colocamos em perspectiva a historiografia já estabelecida acerca dessas duas propostas curatoriais (“O Homem e a Vida” e “Utopia versus Realidade”), e esquadrinhamos o debate crítico suscitado por elas dentro e fora do país. Seleções de obras artísticas e artistas, expografia, discurso teórico e poder de legitimação são articulados com a trajetória crítica da curadora e as transformações nas políticas públicas para a cultura e no status das instituições culturais na década de 1980, em diálogo com a os processos de globalização da arte e redemocratização política no Brasil.
From the context of emergency and consolidation of the curator’s activity of organizing contemporary art exhibitions in the international artistic sphere, this analysis focuses on two editions of the Sao Paulo Art Biennial (the 18th and 19th ones, promoted in 1985 and 1987, respectively) to understand the conditions and consequences of this profession in Brazil. Here we study the curatorial projects of the art critic Sheila Leirner in its uniqueness and in relation to other events held in similar institutions. Questioning the approach already established by the Brazilian historiography about these two curatorial proposals ("Man and Life" and "Utopia vs. Reality"), this research scrutinizes the critical debate raised by them within and outside the country. We also link selections of art works and artists, expography, theoretical discourse and legitimation power to Leirner’s critic production and the transformations in public policy for culture and cultural institutions status during the 1980s, connecting them to the processes of globalization of art and political redemocratization in Brazil.
Zarpelon, Larissa Francez. "Espaço público e ocupação efêmera: a Virada Cultural como instrumento de requalificação do Centro Histórico de São Paulo". Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/339.
Testo completoFundo Mackenzie de Pesquisa
This study aims to identify the possible potential that ephemeral occupation, through cultural events, has on transforming public areas in downtown São Paulo. The focus of the analysis was the historical city center, consisting of the Sé and República districts, and the event, the Virada Cultural (Cutural All-Nighter), as it has been taking place since 2005, primarily in the region and proposes to be a tool for re-appropriation of the space by city residents. Through a conceptual and theoretical discourse that provides an overview of the city and the contemporary public space, from a historical, economic and urban perspective, as well as the inclusion of the 'culture' topic in urban policy, we proceeded to survey press reports about the Virada Cultural, so as to compare them to the official discourse provided by the organizers, through documents and press conferences. The study reveals that democratic and plural cultural events can serve as one of the possible instruments for the government to stimulate the occupation and symbolic requalification of São Paulo s historical center.
Este estudo objetivou identificar a eventual potencialidade da ocupação efêmera, por meio de eventos culturais, para transformar o espaço público da região central da cidade de São Paulo. O foco da análise foi o Centro Histórico do município, constituído pelos distritos da Sé e República, e o evento, a Virada Cultural, por ser realizada, desde 2005, prioritariamente na região e propor-se como ferramenta de reapropriação do espaço pelo cidadão. Ao lado de uma discussão conceitual e teórica para traçar um panorama da cidade e do espaço público contemporâneos, a partir de uma perspectiva histórico-econômica e urbanística, bem como da inserção do tema cultura nas políticas urbanas, procedeu-se ao levantamento de informações divulgadas na imprensa sobre a Virada Cultural, para compará-la ao discurso oficial de seus organizadores, por meio de documentos e entrevista coletiva. O estudo revela que eventos culturais de caráter democrático e plural podem se configurar como um dos instrumentos possíveis para o poder público estimular a ocupação e requalificação simbólica do Centro Histórico de São Paulo.
Huen, Bobby K. "Bloggers and Their Impact on Contemporary Social Movements: A Phenomenological Examination of the Role of Blogs and Their Creators in the LGBT Social Movements in Modern United States". NSUWorks, 2015. http://nsuworks.nova.edu/shss_dcar_etd/30.
Testo completoEdmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958". CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
Testo completoChen, Yun-Ting, e 陳韻婷. "A Study of Contemporary Russia''s Cultural Policy". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/76555895491578139173.
Testo completo淡江大學
俄羅斯研究所碩士班
101
The MOC works to create an environment in which cultural activities thrive, where cultural heritage is preserved and people – regardless of background or status – have opportunities to express themselves culturally. Russia has a long cultural history and is renowned for its culture and arts. This history has undergone a long evolutionary process, from its origins way back in the 9th century, to 12th century Mongolian rule, and all the way upto today’s post-Soviet contemporary culture. Through a close examination of Russian cultural history, this study looks at change in Russian cultural policy before and after the collapse of the Soviet Union. To do so, it draws on various sources, including the Basic Law of the Russian Federation on Culture, as well as related websites and news articles. This study found that after the collapse of the Soviet Union, the concept of cultural policy changed from closed to open, from homogeneous to diverse. The Russian government began to place great emphasis on Russian cultural heritage, and started to channel considerable funds into this area through the “Culture of Russia” Federal Target Programme. Although it states otherwise, the Russian government today remains a major influence in Russian cultural activities.
Johnston, Rebecca Adeline. "Culture in the crucible : Pussy Riot and the politics of art in contemporary Russia". 2013. http://hdl.handle.net/2152/21294.
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Afonso, Lígia Filipa Dias. "Casa da Cerca - Centro de Arte Contemporânea : programar para descentralizar, políticas culturais, autarquia e comunidades". Master's thesis, 2008. http://hdl.handle.net/10362/128231.
Testo completoWith more then two hundred culture community, the city of Almada has in these institutions, an extraordinary movement of cultural expression. For this reason, the district has built a wide group of facilities and redesigned others like “Casa da Cerca – Centro de Arte Contemporânea” (Centre of Contemporary Art) that relate to the historic and identitary relevance as instruments of cultural activities and communitarian sense of development. It is a group classified by IPPAR as Building of Public Interest that is part of one of the most successful projects in the field of Portuguese contemporary art. Its work has developed around two fundamental subjects: Museum/Exhibitions and Information/Documentation Centre with the goal of creating a district booty in the field of Visual Arts, especially drawing. The wide critic reflection about “Casa da Cerca” as being a reference as a real estate, a museum and a community object it is non-existent and it is that flaw that justifies the pertinence of this investigation.
Faustino, Inês Gonçalves. "Fringe: Uma ideia de festival". Master's thesis, 2020. http://hdl.handle.net/10071/21790.
Testo completoThe origins of Edinburgh Festival Fringe date back to 1947. Fringe started when eight artists showed up, unannounced, to perform at the inauguration of the Edinburgh International Festival, unsuccessfully one might add. However, they performed at the “fringe” of the “official” festival, and since then, the Fringe has been known as “defying the norm”. In 2017 the Fringe celebrated its 70th anniversary and this seemed to an appropriate occasion for the beginning of this investigation. This study was carried out through a qualitative methodology with the following research question: “Which evolutive tendencies between the different editions of the Edinburgh Festival Fringe, between 2007-2017 in the Scottish cultural sector context?”. Scotland is a country north of the United Kingdom which capital is the city of Edinburgh. With few more than five million habitants, Edinburgh is not the typical competitor to the bigger European capitals, despite that during August, the whole world meets in Edinburgh. What is presented in this investigation is a qualitative analysis supported by official and secondary documentation, which aims to understand the evolution patterns of the Edinburgh Festival Fringe between the decade 2007-2017. This culminates with its 70th celebrations in 2017. The investigation presents a theoretical framework, where concepts are supported by relevant literature, followed by an historical analysis which positions the Edinburgh Festivals in their historical, geographical, social and political contexts; lastly, the findings resulting from the documental evaluation are also shown through a presentation of the statistical data, where the participatory, economic, and arts genres evolution of the Fringe can also be found. This investigation suggests a reflection on the social phenomenon festivals through the questions: are they useful? Are they relevant? What is their social importance? And lastly what does the future hold for festivals?
STŘELBOVÁ, Tereza. "Emil František Burian. Sebeprezentace, reprezentace a paměť". Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-156163.
Testo completoSanders, Anne Elizabeth. "The Mildura Sculpture Triennials 1961 - 1978 : an interpretative history". Phd thesis, 2009. http://hdl.handle.net/1885/7452.
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